Mindscape used to be one of my favorite podcasts. I will check out this episode!
This thread seems to be a logical place to post links to the Modulisme-related Q&A interviews with various modular synth practitioners published at Freq, the latest being with Mat Watson of Eternal Music Projects and a whole lot more:
Disclaimer
Why yes, I did conduct the interviews, as it happens.
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He added, “I’m not saying that as an old man yelling at clouds, but as a music lover who grew up where music was the main thing. Music [now] feels largely relegated to something that happens in the background or while you’re doing something else. That’s a long, bitter story.”
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The sultan also bestowed Avedis the family name “Zildjian” which actually means cymbal maker.
Zildjian’s manufacturing has evolved to keep up with demand for its 600 models of cymbals sold in more than 100 countries. According to the company, it takes a minimum of 15 people to complete a single cymbal.
A similar stroy this time about a violin maker!
“It takes about eight weeks to process a string. So we’re constantly making strings all the time,” said Larson, holding 3-foot strands of gut. “We never close the shop.”
The shop follows a recipe, but making gut strings is more art than science. Humidity, temperature and variations in the intestines must be accounted for.
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“Back in the day, to use a kitchen as an analogy, you made everything from the ground upwards: your sauce, your seasoning, whatever. Now everything’s out of a packet. Just add water and you’ve got it, and so most things are made up of recordings that have already been recorded. You’re just rearranging them,” Horn says.
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Mylar Melodies Jamie Lidell got a pleasant interview with a legend.
(Sorry, I mixed up the guys!)
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Richie Hawtin talking about things…
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I’m a producer on this planet. I do not want this.
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Figured I’d have seen one of these in here, but I guess it’s been a long long time maybe you all haven’t seen them? Doing these interviews with him was pretty hilarious, the cassette tape recordings are full of shit that didn’t make the cut that prob nobody should ever hear. Maybe one day…
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“ISM: You were born in Detroit, right?
AOS: Hell yeah.”
I don’t know this guy, but I like his energy.
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Guy Tavares of Unit Moebius/Bunker records
Pretty awkward “get that camera out my face” vibes. But still nice document from a young man.
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The Depeche Mode thread made me look for a few interviews.
This is so not true today! I am not even sure it was true back then.
In America, pop is like a dirty word. So many people are anti-Top 40, while in Britain you get in the Top 30, it’s not a bad thing.
There is also lots of sound design examples( motorcycle sound → drum):
ALAN: A lot of music is done through samplings. Sampling is where you record a sound, just like you would on a tape recorder, except instead of tape, you use digital information.
You take a tiny bit of a sound, throw the rest out, and by varying the pitch—slowing it down or speeding it up—it become a totally different sound from what it was originally. Once that sound is on the keyboard, once it’s captured there, you press a key and it’s like pressing the start button on a tape recorder or an engine.
You can take the most beautiful, purest voice sound in the world and fool around with it digitally until it’s this most monstrous, evil sound, or you can take a moose fart and make it beautiful.
https://www.spin.com/2019/10/depeche-mode-august-1988-interview-music-for-moderns/
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I am with you. My first and still most used DAW is MPC Software. It allows you to use only four (4!!) Insert plugins (effects). I am so used to it that i rarely violate this even in Ableton. I design the sound as close as possible to what i want in the synth/VST.
The other issue i have with this kind of setup is that you are almost guaranteed to produce similar sound music. I guess i can see it if you are making bunch of similar tracks quickly, but i dont see any freedom here if you are trying to be creative.
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Re-up with DJ Bone a couple of years ago.
Great point.
I think software people have this weird attitude that if you have a lot of gear, they have to justify it. But at the same time, everyone who uses software has about 800 plug-ins. They all fit in one computer. And if you bought all those plug-ins, it would cost as much as hardware. And nobody pays attention to the lack of control. If you’re just using a keyboard and mouse, you can only control one or two things. With MIDI controllers, you have a lot to set up and you can forget your assignments and so on. That’s a big problem too. Also, if you’re doing really complex sound design, it’s not necessarily faster to work with software
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